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DESCRIPTION 


—OF- 


Artemisia   TTape^stries 


BELONGING  TO  MRS.  HEARST 


Digitized  by  the  Internet  Archive 

in  2007  with  funding  from 

IVIicrosoft  Corporation 


http://www.archive.org/details/descriptionofartOOffourich 


PREFACE 

OlEUR  NICHOLAS  HOUVEL,  or  rather  Houel, 
^^  first  conceived  tlie  idea  of  illustrating  in  tapes- 
tries certain  events  in  the  life  of  Catherine  de 
Medicis  under  the  guise  of  Artemesia. 

Houel  was,  according  to  Felibien  and  Guiffrey,  a 
notable  citizen  of  Paris,  a  merchant  apothecary  and 
grocer,  who  became  toward  the  end  of  his  life 
Intendant  and  Governor  of  the  house  of  Christian 
Charity,  established  in  the  suburb  Saint-Marcel  in 
1578.  He  was  a  singular  and  enigmatic  personage, 
fond  of  letters,  and  in  business  relations  with  the 
highest  personages  of  the  court.  He  cultivated 
poetry,  encouraged  artists,  and  devoted  the  fortune 
he  had  acquired,  by  intelligence  and  industry,  to 
pious  purposes.  Guiffrey  is  almost  tempted  to 
imagine  that  the  superstitious  Queen,  with  her  belief 

3 


in  astrology  and  leaning  toward  alchemy,  was  the 
real  author  of  the  idea  of  writing  her  own  history  in 
tapestries,  and  that  Houel  was  her  willing  tool;  but 
he  declares  that  he  only  speculates,  as  none  of  the 
known  details  of  Houel's  life  offer  any  right  to 
doubt  his  uprightness  or  honesty  of  purpose. 

According  to  general  testimony  as  well  as  thor- 
oughly credible  tradition,  Antoine  Caron,  an  eminent 
artist  of  the  period,  assisted,  as  Guiffrey  and  others 
state,  "by  the  best  artists  of  France  and  Italy  then 
working  at  Fontainebleau  and  elsewhere,"  painted 
thirty-nine  models  for  these  tapestries,  each  of  which 
illustrated  a  different  episode  in  the  career  of  Catherine 
after  the  death  of  her  husband,  but  not  one-half  of 
which  were  ever  interpreted  into  tapestries.  It  is 
fortunate,  however,  that  all  were  engraved,  as  it  is 
solely  by  means  of  these  engravings,  which  are  now 
preserved  in  the  Cabinet  of  Engravings  in  the  French 
National  Library  in  Paris,  that  we  are  made  ac- 
quainted with  the  style  and  character  of  those  which 
were  not  translated  into  tapestries.  Reiset,  in  his 
Catalogue  des  dessins  du  Louvre,  holds  the  opinion, 
which  is  supported  by  other  authorities,  that  there  is 

4 


such  marked  difference  in  the  compositions  as  to 
preclude  the  belief  that  all  could  have  been  painted 
by  Caron,  and  that  in  consequence  other  artists  must 
have  collaborated  in  creating  them,  which  confirms 
both  the  testimony  and  tradition  concerning  their 
origin.  The  engravings  possess  an  additional  in- 
terest from  the  fact  that  different  lines  of  the  sonnets 
written  by  Houel  and  dedicated  to  the  Queen,  to 
impress  his  undertaking  upon  her  memory,  are  copied 
on  the  back  of  every  one  of  them. 

I  have  interpreted  as  well  as  adapted  the  title  given 
by  Houel  to  each  of  the  ten  tapestries  composing  the 
series  which  is  the  subject  of  this  monograph,  as 
the  same  is  quoted  by  Guiffrey,  the  present  Director 
General  of  the  Gobelins,  on  pages  95  and  96  of  his 
Histoire  Ge7ierale  de  la  Tapisserie  en  France.  I  have 
also  placed  beneath  each  title  a  translation  of  the 
same  line  from  Houel's  sonnets  that  Guiffrey  has 
placed  in  a  similar  position  in  his  work  above 
mentioned. 

Inasmuch  as  the  sonnets  are  written  in  old  French, 
constructed  on  old  lines,  and  contain  many  obsolete 
words,  I  was  compelled  in  two  or  three  instances  to 

5 


translate  the  idea  conveyed  instead  of  the  literal 
words.  Guiffrey,  although  he  had  the  advantage  of 
describing  all  thirty-nine  of  the  compositions  and 
appending  the  same  number  of  lines  from  the 
sonnets,  felt  constrained  to  explain  that,  occasionally, 
the  verses  copied  upon  a  design  apply  better  to 
the  one  which  precedes  or  follows  than  to  the  one 
upon  which  they  actually  appear.  He  presumes 
therefore,  as  seems  eminently  reasonable,  that  the 
copyist  must  have  inadvertently  transposed  the 
original  positions  of  some  of  the  lines. 

Eight  of  the  tapestries  described  herein  bear  the 
crown  of  France,  the  arms  of  France  and  Navarre, 
the  collars  of  the  orders  of  St.  Michael  and  the  Holy 
Spirit,  and  the  cipher  of  Louis  XIII,  and  two  of  them 
bear  the  monogram  of  Marie  de  Medicis. 


%xih%  ^mmi  Jimi$^  |)im^n$t0n$  nnh  ^x^mimt^ 


No.  I.     ''Queen  Artemesia,  accompanied  by  lier  son, 
sacrifices  a  bull   upon  an   altar   before  the   as- 
sembled people." 
The  sonnet  begins : 
**  The  High  Priest  having  read  to  all  those  assembled." 

Height,  13  ft.  4  in.     Width,  15  ft.  9  in. 
Signed   P  ^^  in  bottom  selvage  and  KM    and 
]j^  in  right  hand  selvage. 

No.  2.     "Dignitaries  of  the  Court   carrying  a  vase 
richly   decorated,  in   the  heart   of  a   landscape 
scene." 
The  sonnet  begins : 

"Behind  these  marched  a  grand  company." 

Height,  13  ft.  4  in.     Width,  13  ft.  10  in. 
Signed  (^^  P  in    bottom  selvage   and  KM   and 
"fe7  in  right  hand  selvage. 


No.  3.  "The  Queen,  seated,  receives  the  petitions  of 
the  people." 

(The  sonnet  indicates  that  these  petitions  were 
presented   before   the    Queen   actually  assumed 
the  reins   of  government,   consequently  she  is 
represented  by  the  Statue  of  Justice.) 
The  sonnet  begins : 

**  But  before  she  came  to  rule  her  kingdom." 

Height,  13  ft.  4  in.     Width,  19  ft.  10  in. 
Signed  P  c=^  in   bottom  selvage   and  |\|/|  and 
~W~  in  right  hand  selvage. 

No.  4.     "The    Queen    distributes    rewards    to    the 
soldiers." 
The  sonnet  begins : 

"In  order  to  further  increase  her  renown." 

Height,  13  ft.  4  in.     Width,  19  ft.  10  in. 
Signed  "^^    in  bottom  selvage  and  |\j/|  and  -^ 
in  right  hand  selvage. 

No.  5.  "The  Queen  attends  the  exercises  in  horse- 
manship to  which  the  young  Prince  devotes 
himself  near  an  amphitheatre." 

8 


The  sonnet  begins: 

"  Afterwards  he  was  taught  all  knightly  qualities." 

Height,  13  ft.  4  in.     Width,  19  ft.  8  in. 
Signed   j\j/|  in  right  hand  selvage. 

No.  6.     "Attack   on   a   fort   surrounded   by  water." 
The  sonnet  begins : 

"Afterwards  he  was  instructed  in  the  arts  of  war." 

Height,  13  ft.  5  in.     Width,  20  ft.  2  in. 

Signed  P  <^P  and  (j/  in  bottom  selvage  and  M/l 

in  right  hand  selvage. 

No.  7.     "The  young    Prince  studying   mathematics 
and  geography." 
The  sonnet  begins : 

'*  He  was  also  taught  the  sciences." 

Height,  13  ft.  6  in.     Width,  21  ft.  7  in. 

Signed  a^ P   in   bottom    selvage   and  kT/i  and 

TaT"  in  right  hand  selvage. 

No.  8.  "The  Queen  and  the  young  King  summoned 
around  them  the  most  noted  artists.  One  of 
them  explains  a  project." 

9 


Tlie  sonnet  begins : 

''The  Estates  assembled  with  infinite  joy." 

Height,  13  ft.  5  in.     Width,  10  ft.  3  in. 

Signed     P<^^  in   bottom  selvage  and  km  and 

"bLT  in  right  hand  selvage. 

The  subjects  of  both  following  tapestries  illustrate 
part  of  the  same  story  as  the  preceding  eight,  but  are 
enclosed  in  entirely  different  borders,  are  enriched 
with  gold  and  silver  threads,  and  bear  a  different 
royal  monogram. 

No.  9.     "The    Queen    deliberates   with    the   artists 

about  the  monument  she  would  erect  to  Mausolus 

(and  rewards  the  most  prominent.") 
The  sonnet  begins : 

"  Those  noted  artists  presented  the  image." 

Height,  15  ft.  4.  in.     Width,  12  ft.  7  in. 

Signed  P  ^^  in   bottom  selvage    and  |\|/|  and 

a  lily  in  right  hand  selvage. 

No.  10.  "The  Queen  (conquers  and)  pardons  the 
revolted  Rhodians  and  re-embarks,"  and  "The 
Colossus  of  Rhodes." 

10 


The  sonnet  begins : 

*'  The  Queen  at  her  return  superb  and  sumptuous." 

Height,  15  ft.  6  in.     Width,  22  ft.  2  in. 

Signed   P  c=^  in  bottom  selvage  and  M/i  and 

a  lily  in  right  hand  selvage. 

Whenever  any  tapestries  are  referred  to  in  the 
following  pages  by  numbers  instead  of  titles,  those 
numbers  designate  the  individual  tapestries  similarly 
numbered  in  the  above  list. 


II 


^t$lar5t  ©rigm  ^nir  |mporl^nt^ 


Queen  Artemesia  is  renowned  in  history  for  her 
extraordinary  grief  at  the  death  of  her  husband, 
Mausolus,  King  of  Caria.  She  is  said  to  have  mixed 
his  ashes  in  her  daily  drink  and  to  have  gradually 
pined  away  during  the  two  years  that  she  survived 
him.  She  induced  the  most  eminent  Greek  rheto- 
ricians to  proclaim  his  praise  in  their  oratory,  and 
build  at  Halicarnassus,  to  perpetuate  his  memory,  the 
celebrated  Mausoleum,  which  was  regarded  as  one  of 
the  seven  wonders  of  the  world,  and  which  suggested 
the  present  generic  term  for  any  splendid  sepulchral 
monument.  She  educated  her  son  with  great  care, 
and  ruled  the  kingdom  during  his  minority  with 
firmness,  skill  and  wisdom.  She  suppressed  the 
revolt  of  the  Rhodians,  who  had  succeeded  in  throw- 
ing off  the  Athenian  yoke  by  the  assistance  of  her 
husband,  and  erected  on  their  island,  as  a  memorial 

12 


of  her  conquest,  a  monument  which  Houel,  Caron 
and  Lerambert,  with  courtly  gallantry,  represent  in 
one  of  the  tapestries  of  this  series  by  the  Colossus 
at  Rhodes.  This  abbreviated  history  of  the  Queen  of 
Caria  is  introduced  to  explain  the  reasons  which 
prompted  two  royal  widows  of  France  to  accept  her 
boundless  grief  at  the  loss  of  her  consort  as  emblem- 
atical of  their  sorrow  at  the  deaths  of  their  respective 
husbands. 

Like  Queen  Artemesia,  both  Catherine  de  Medicis, 
wife  of  Henry  II,  and  Marie  de  Medicis,  wife  of 
Henry  VI,  lost  their  royal  husbands  in  the  prime  of 
life;  like  her,  they  were  declared  regents  of  the  king- 
dom during  the  minority  of  their  sons ;  like  her,  they 
passionately  mourned  their  bereavement;  like  her, 
they  erected  stately  monuments  to  the  memory  of 
their  husbands;  like  her,  they  had  contentions  and 
armed  conflicts  with  their  subjects;  like  her,  they 
superintended  the  education  of  their  sons,  the  future 
kings;  and  like  her,  they  essayed  to  render  their 
reigns  illustrious.  No  wonder  then  that  the 
courtiers  around  them  compared  them  with  the 
celebrated    Queen   of    Caria,    and   that    finally    the 

13 


Medicis  themselves  desired  to  embody  in  tapestries, 
under  the  guise  and  figure  of  Artemesia,  some  of  the 
most  conspicuous  features  of  their  reigns  as  loving 
royal  consorts,  devoted  royal  mothers,  powerful 
queens,  and  wise  regents. 

Lacordaire,  formerly  Director  General  of  the 
Gobelins,  on  page  21  of  Notice  Historique  sur  les 
Manufactures  des  Gobelins,  declares  that  during  the 
reigns  of  five  succeeding  sovereigns  of  France  the 
series  Artemesia  received  the  signal  and  unusual 
honor  of  being  repeatedly  chosen  for  reproduction  in 
the  royal  ateliers  of  tapestry  weaving  in  perference 
to  all  other  compositions,  and  that  there  were  ten 
series  woven  in  these  ateliers  between  the  years  1570 
and  1660,  which  contained  altogether  about  sixty-six 
tapestries,  illustrating  queens  of  France  as  Arte- 
mesia. The  inventories  of  the  works  of  art  belonging 
to  the  crown,  taken  during  the  reign  of  Louis  XIV, 
disclose  the  existence,  from  1663  to  17 15,  of  ten  series 
containing  eighty-four  tapestries  in  all,  some  of  which 
must  have  been  woven  since  1660,  or  Lacordaire 
must  have  made  an  error  in  his  calculations.  In  any 
event  the  different  series  are  readily  distinguished  by 

14 


their  dissimilar  borders  and  the  largest  of  them 
contained  only  fifteen  and  the  smallest  bnt  three 
tapestries.  These  details  are  exceedingly  interesting 
because  they  show,  among  other  things,  that  the 
Artemesia  tapestries  were  regarded  by  the  monarchs 
and  the  court  of  France  with  extraordinary  favor  for 
nearly  one  hundred  and  fifty  consecutive  years. 

Although  the  cartoons  by  celebrated  masters  of 
famous  subjects  were  often  translated  more  than 
once  upon  the  loom,  yet  the  chefs  d'atelier  practically 
never  surrounded  the  different  interpretations  with 
the  same  borders.  Each  repetition  is  naturally  an 
original,  if  by  a  different  chef  d'atelier,  and  if  an 
interpretation  of  the  original  cartoons. 

Lacordaire,  on  page  20  of  the  work  previously 
named,  states  that  "Henry  Lerambert,  under  the 
regency  of  Catherine  de  Medicis,  who  was  a  particular 
friend  of  the  arts,  began  work  on  one  of  the  most 
important  series  of  compositions  that  has  ever  been 
designed  for  tapestries :  the  history  of  Mausolus  and 
Artemesia,  in  thirty-nine  designs,  or  rather  the 
history  of  Catherine  de  Medicis  under  the  emblem  of 
Queen  Artemesia." 

15 


All  the  series  owned  by  tHe  French  Government 
from  1663  to  1715  are  described  in  GniiBFrey's  In- 
ventaire  General  du  Mobilier  de  la  Couronne  sous 
Louis  XIV,  but  the  tapestries  which  are  the  subject 
of  this  monograph  were  presented  Cardinal  Barberini 
by  Louis  XIII  almost  forty  years  before  this  in- 
ventory was  taken. 

Lacordaire  states,  as  previously  mentioned,  that 
only  sixty-six  Artemesia  tapestries  were  woven  in  the 
royal  ateliers  of  Paris,  which  number,  according  to 
my  calculations  must  be  increased  to  say  one  hun- 
dred, of  which  six  belonged  to  the  Foucquet  collection. 
The  inventory  above-named  proves  the  existence  of 
eighty-four  in  the  last  quarter  of  the  XVII  century, 
which,  added  to  the  ten  formerly  in  the  Barberini 
collection  and  withdrawn,  as  above  stated,  before  said 
period,  and  to  those  in  Munich,  hereafter  mentioned, 
makes  a  total  of  about  one  hundred  woven  in  all. 
Guiffrey,  in  a  late  work  compiled  from  the  archives 
at  the  Gobelins,  proves  that  twenty-three  were  de- 
stroyed during  the  Reign  of  Terror,  but  makes  no 
mention  of  the  number  burned  during  the  Commune. 
All  authorities  are  in  accord  that  there  are  now  only 

16 


twenty-eight  in  the  National  Garde-Meuble.  These 
twenty-eight,  plus  the  twenty-three  burned  by  the 
Terrorists,  plus  the  ten  formerly  in  the  Barberini 
collection,  plus  say  five  in  the  royal  palace  at 
Munich,  makes  a  total  of  sixty-six,  or  all  that  were 
ever  woven  if  we  take  Lacordaire^s  figures,  but 
thirty-four  less  than  all  if  we  take  my  figures.  As 
no  trace  of  these  thirty-four  exists  it  is  probable 
that  they  were  among  the  six  hundred  and  thirty- 
seven  tapestries  burned  by  the  Commune  in  1871. 

I  wrote  Guiffrey  regarding  the  discrepancy  between 
Lacordaire's  opinion  of  the  number  woven  and  my 
own,  and  received  the  following  reply:  "I  consider 
that  the  Artemesia  tapestries  in  Munich  constitute  a 
series  independent  of  the  collection  of  Louis  XIV,  but 
all  the  same  authentic.  In  regard  to  the  series  which 
came  from  the  Barberini  collection  and  which  you 
possess,  it  is  certain  that  it  left  France  before  the 
editing  of  the  royal  inventory  of  Louis  XIV  and  that 
it  belongs  to  the  series  owned  by  that  monarch.  You 
are  therefore  nearer  the  truth  than  Lacordaire,  with 
his  sixty-six  pieces,  in  saying  that  there  were  woven 
about   one  hundred  tapestries   with   subjects  drawn 

17 


from  the  history  of  Artemesia.  By  rejoining  yours 
to  those  of  Paris  and  Munich  and  adding  the  twenty- 
three  burned  in  1797  we  can  at  least  settle  the 
destiny  of  about  sixty-five  or  seventy  of  the  whole 
number."  The  balance,  as  I  have  above  stated,  were 
probably  destroyed  by  the  Communists. 

The  earliest  cartoons  for  the  Artemesia  tapestries 
were  painted,  as  previously  mentioned,  by  Antoine 
Caron  and  his  assistants,  to  exemplify  the  grief  of 
Catherine  de  Medicis  at  the  death  of  Henry  II. 
Nicholas  Houel,  as  heretofore  stated,  composed  the 
sonnets  which  quaintly  describe  the  subject  of  each 
tapestry  and  dedicated  them  to  the  Queen,  who  was 
so  delighted  with  both  the  cartoons  and  the  sonnets 
that  she  gave  orders  to  have  them  interpreted  into 
tapestries,  according  to  Houel,  in  her  Chateau  au 
Louvre  in  Paris,  where  a  royal  manufactory  was 
then  established. 

Marie  de  Medicis  also  commanded  a  series,  v/ith 
the  same  subjects  rejuvenated  by  Lerambert,  to 
commemorate  her  grief  at  the  death  of  Henry  IV. 
This  series  was  enclosed  in  an  entirely  different 
border  from  the  preceding,  and  was  woven,  according 

18 


to  tHe  evidence  recited  on  a  subsequent  page,  at  the 
Gobelins,  where  a  royal  manufactory  had  been 
founded  by  her  illustrious  consort. 

As  some  Artemesia  tapestries  bear  the  cipher  of 
Henry  the  Great,  it  is  evident  they  were  woven 
before  his  death  and  that  he  was  pleased  with  them 
on  account  of  their  decorative  compositions  only, 
since  the  subjects  bear  no  personal  application  to 
him. 

It  is  difficult,  if  not  impossible,  to  define  the  part 
taken  by  Caron  and  Lerambert,  respectively,  in  the 
common  work.  Consulting  the  biographies  of  all  the 
personages  interested  gives  nothing  more  than  in- 
dications. Nevertheless,  as  all  authorities  concur  in 
the  statement  that  Caron  and  Lerambert  were  the 
authors  of  all  the  cartoons,  and  as  the  former  pre- 
ceded the  latter  by  eleven  years  to  the  tomb,  it  is  fair 
to  assume  that  Caron  painted  the  earliest  and  Leram- 
bert the  later  models. 

Felibien,  in  his  Entretien  su7'  les  vies  des  peintres, 
states  that  "Henry  Lerambert,  painter  to  the  King 
(Henry  IV,)  applied  himself  particularly  to  painting 
designs   for    tapestries.     Those   which    are    in    the 

19 


cliurcli  Saint  Merri,  in  which  the  history  of  our  Lord 
is  represented,  were  woven  after  cartoons  by  him. 
He  also  painted,  in  1600,  the  designs  for  the  tapes- 
tries illustrating  the  history  of  Coriolanus  and  that 
of  Artemesia."  In  another  part  of  the  same  work  he 
says  that  Lerambert  was  specially  charged  with 
painting  the  cartoons  for  such  tapestries  as  his 
Majesty  commanded  for  his  own  use,  which  is  con- 
firmed by  Guiffrey  in  his  Histoire  Generate  de  la 
Tapisserie  en  France.  These  statements  are  very 
important,  since  the  beauty  and  value  of  art  tapes- 
tries depend  almost  as  much  upon  the  cartoonist  as 
the  chef  d'atelier,  for  they  should  be  actual  col- 
laborators in  creating  them. 

Germain  Brice,  in  the  first  editions  of  his  Descrip- 
tion de  Paris,  corroborates  the  declarations  of  Felibien 
and  Guiffrey,  that  the  cartoons  for  the  celebrated 
tapestries  representing  the  Life  of  Christ.^  in  the 
church  of  Saint  Merri,  were  designed  by  Lerambert. 
Sauval,  in  his  Antiquites  de  Paris^  adds  that  the 
tapestries  interpreted  in  the  Trinity  atelier  by 
Dubourg  after  these  cartoons  created  such  a  sen- 
sation that  Henry  IV  went  to  see  them  and  was  so 

20 


profoundly  impressed  by  them  that  he  decided  to 
re-establish  the  weaving  of  tapestries  in  Paris  under 
royal  patronage,  the  civil  wars  of  the  preceding  reign 
having  almost  destroyed  the  art  industry  in  France. 
It  appears  by  this  statement  of  Sauval,  which  is 
confirmed  by  other  authorities,  that  the  creations  of 
Lerambert  and  Dubourg  inspired  the  great  efforts  of 
Henry  IV  in  behalf  of  tapestry  weaving,  which  natu- 
rally sheds  additional  lustre  on  all  tapestries  woven 
after  the  cartoons  of  Lerambert,  although  there  is 
other  evidence  which  indicates,  if  it  does  not  prove, 
that  Henry  IV  realized  the  advantages  flowing  from 
this  important  and  valuable  art  industry  before  he 
mounted  the  throne  of  France.  In  any  event  it  can 
be  safely  asserted  that  the  view  of  the  Saint  Merri 
tapestries  decided  him  to  carry  his  convictions  into 
effect  and  start  his  country  towards  that  supremacy 
in  all  art  industries  which  she  has  maintained  to  this 
day. 

Guiffrey  says,  on  page  254  of  Histoire  de  la  Tapis- 
serie  depuis  le  mo  yen  age  jusqu'a  nos  jours  ^  "If  the 
history  of  Artemesia  woven  for  Catherine  de  Medicis 
was  not  interpreted  in  the  Trinity  Atelier,  we  do  not 

21 


know  where  it  was  made.  The  models,  this  time 
again,  were  in  part  at  least  by  Lerambert  who  as 
painter  to  the  King  was  specially  charged  to  provide 
cartoons  for  the  royal  manufactories  of  tapestries. 
Regarding  this  series,  as  well  as  that  of  Saint  Merri, 
we  fortunately  possess  contemporary  testimony  of 
precious  importance  in  the  shape  of  thirty-nine  en- 
gravings of  original  models  now  in  the  Cabinet  of 
Engravings  of  the  National  Library.  The  book  of 
Houelhas  the  grand  merit  of  enabling  us  to  seize 
the  general  idea  which  predominated  in  the  com- 
positions of  the  scenes  represented.  These  mag- 
nificent exhibitions  of  sovereign  grace  and  presenta- 
tion of  gifts  belong  in  part  to  the  triumphal  pomps 
in  which  Artemesia  celebrated  her  victory  over  the 
Rhodians,  and  in  others  to  the  funeral  services  of  the 
King,  her  husband.  Besides  these  subjects,  which 
lend  themselyes  admirably  to  decoration,  and  of 
which  the  artist  weaver  knew  how  to  take  the  best 
advantage,  there  are  other  scenes  which  enable  us  to 
watch  the  education  of  the  young  Prince  in  the  arts 
of  war  and  equitation,  and  the  care  with  which  his 
mother  surrounded  his  adolescence.    For  a  long  time 


22 


neglected  and  overlooked,  the  Artemesia  tapestries 
liave  lately  re-assumed  in  the  estimation  of  connois- 
seurs the  place  to  which  they  are  entitled." 

Unfortunately  nearly  all  the  series  have  reached 
us  very  incomplete,  largely  because  of  the  vandalism 
of  the  Reign  of  Terror  and  the  Commune.  Guififrey 
wonders  if  the  authors  of  the  models  were  acquainted 
with  the  famous  triumphs  by  Mantegna  which  the 
history  of  Artemesia  recalls  in  certain  directions. 
This  question  cannot  be  answered  positively,  for 
triumphal  scenes  and  analagous  subjects  were  in 
such  great  favor  almost  everywhere  during  the  XVI 
century  that  it  cannot  be  definitely  determined  where 
they  drew  their  inspirations.  In  reality  the  friezes 
of  Mantegna  probably  present  less  affinity  with  the 
cartoons  of  Lerambert  than  the  triumphs  of  Jules 
Romain.  No  matter  what  the  relationship  which 
suggested  the  series  woven  for  Catherine  de  Medicis, 
it  offers  in  its  details  as  well  as  in  its  entirety,  as 
Guiffrey  declares,  the  characteristic  traits  of  French 
taste.  In  consequence  he  believes  that  the  models 
are  thoroughly  original  conceptions,  and  that  the 
identity  in  the  destinies  of  Catherine  and  Marie  de 

23 


Medicis  contributed  in  a  great  part  to  the  ceremo- 
nious  progress  in  the  events  illustrated. 

As  Catherine  de  Medicis  was  reared  in  the  cultured 
court  of  Florence,  and  as  her  ancestors  were  renowned 
patrons  of  art,  it  was  natural  that  she  should  have 
possessed  refined  taste,  should  have  ardently  admired 
the  luxurious  arts  and  should  have  exerted  a  felicit- 
ous influence  upon  their  development  in  her  hus- 
band's dominions.  She  exhibited  particular  solicitude 
for  the  ateliers  of  tapestry  weaving  founded  by  her 
consort,  and  left  behind  her,  as  Guiffrey  states,  a 
grand  memorial  of  her  taste  in  the  magnificent  Ar- 
temesia  tapestries  in  which  she  indulged  her  grief 
as  an  inconsolable  widow,  and  proclaimed  the  pains 
she  took  in  the  education  of  her  children. 

Marie  de  Medicis  was  reared  under  similar  influ- 
ences as  the  relative  who  preceded  her  upon  the 
throne  of  France,  and  like  her  possessed  exquisite 
taste  and  passionately  loved  the  sumptuous  arts. 
Like  her,  she  vigorously  supported  the  royal  ateliers 
of  tapestry  weaving,  and  like  her,  she  left  behind  her 
a  superb  monument  of  her  grief  at  the  loss  of  her 
illustrious    consort,    and    of    her    devotion    to    her 

24 


children's  education,  in  other  series  of  Artemesia 
tapestries,  of  which  those  described  in  this  paper 
constitute  an  original  part. 

The  Governing  Committee  at  the  Universal  Ex- 
hibition held  in  Paris  in  1878  paid  an  unexpected 
and  involuntary  tribute  to  the  taste  and  skill  of  the 
ancient  tapestry  weavers  in  general,  and  to  the  series 
Artemesia  in  particular,  by  selecting  it  in  preference 
to  anything  else  to  line  the  walls  of  the  three  salons 
occupied  by  the  French  statuary.  They  found 
nothing  ancient  or  modern  which  enlivened  the  cold 
and  icy  aspect  of  these  rooms  with  equal  warmth  and 
richness,  and  at  the  same  time  made  such  an 
admirable  foil  to  the  plaster  and  marbles,  without 
killing  them  by  excessive  coloring. 

The  ten  Artemesia  tapestries  which  are  the  subject 
of  this  monograph  were,  like  the  preceding,  woven  in 
the  royal  ateliers  of  Paris ;  are,  like  them,  interpreta- 
tions from  original  cartoons,  and  are  therefore  entitled 
to  an  equal  share  in  the  remarkable  homage  paid 
them  at  the  Exposition  of  1878  as  above  recited.  I 
have  carefully  examined,  by  the  courtesy  of  my 
friend    Mr.    Williamson,    formerly    Curator   of  the 

25 


Frencli  National  Garde-Meuble,  whom  I  cannot 
thank  too  warmly,  most  of  the  tapestries  belonging 
to  the  different  series  Artemesia  therein  preserved 
and  find  that  those  of  the  era  of  Marie  de  Medicis 
and  those  which  are  the  subject  of  this  paper  are  so 
much  alike  in  coloring  and  character,  as  well  as  in 
technical  and  general  treatment,  that  both  must  have 
been  woven  about  the  same  period,  in  the  same 
atelier,  and  after  the  same  cartoons.  By  comparing 
the  tapestry  representing  An  attack  o?i  a  fort 
surrounded  by  water  belonging  to  the  Barberini 
Collection,  with  the  illustration  in  Guiffrey's  Histoire 
Ge7ierale  de  la  Tapisserie  en  France  of  the  tapestry 
with  the  same  subject  belonging  to  the  French 
National  Collection;  and  by  comparing  almost  any 
other  tapestry  of  the  Artemesia  series  in  the  Bar- 
berini Collection  with  the  illustration  in  Guichard's 
Les  Tapisseries  decoratives  du  Garde-Meuble  of  the 
tapestry  representing  Artemesia  receiving  her  subjects^ 
in  the  French  National  Collection,  any  amateur  or 
connoisseur  will  convince  himself  of  the  correctness 
of  this  conclusion.  The  tapestries  representing  An 
attack  on  a  fort  surrounded  by  water  and  The  Colossus 

26 


of  Rhodes,  belonging  to  the  French  Government,  with 
many  other  magnificent  pieces,  were  used  to  decorate 
the  walls  of  the  Palais  d'Industrie  in  1889  at  a  fete 
given  there  in  honor  of  the  Shah  of  Persia,  and  were 
probably  seen  and  admired  on  that  occasion  by  many 
other  Americans  besides  myself.  The  ten  tapestries 
which  are  the  subject  of  this  paper  were  presented, 
two  hundred  and  seventy-one  years  ago  by  Louis 
XIII  of  France  to  Cardinal  Frangois  Barberini, 
nephew  of  Pope  Urban  VIII,  when  Papal  Legate  at 
the  French  Court,  and  have  been  ever  since  carefully 
preserved  in  the  Barberini  Palace  at  Rome  by 
successive  generations  of  the  family  until  they  were 
brought  to  America  in  1891. 

They  are  all  interpretations  from  the  designs  of 
Lerambert,  were  all  woven  at  the  command  of  Marie 
de  Medicis  when  regent  of  France,  in  one  of  the 
royal  ateliers  at  Paris,  no  doubt  the  early  Gobelins, 
when  under  the  supervision  of  de  la  Planche  and  de 
Comans,  as  hereafter  shown. 

Nearly  all  bear  in  the  bottom  selvage  the  initial  P 
and  the  fleur-de-lis  of  France,  which  is  the  authentic 
mark  of  the  atelier  of  de  la  Planche  and  de  Comans ; 

27 


all  bear,  in  the  right  hand  upright  selvage  the  mono- 
gram |\|/| ,  which  may  be  composed  of  the  initials  of 
their  joint  names,  Frangois  and  Marc;  and  several 
bear  in  the  same  upright  selvage  the  monogram  "tzsJ" ; 
and  two,  the  monogram  -y^    or  its  reverse. 

Two-thirds  of  the  eighty-four  tapestries,  composing 
the  ten  series  Artemesia,  owned  by  the  French  nation 
between  1663  and  17 15,  have  disappeared  or  been 
destroyed.  During  the  Reign  of  Terror  two  of  the 
largest  series,  containing  twenty-three  tapestries  in 
all,  were  burned  to  obtain  the  gold  and  silver  in 
them,  and  during  the  Commune  a  lot  more  were  also 
burned,  so  that  at  the  present  time  the  Garde-Meuble 
contains  only  twenty-eight  of  the  original  number 
and  these  belong  to  six  different  series.  In  con- 
sequence, the  larger  of  the  two  series,  which  are  the 
subject  of  this  monograph,  is  more  important  than 
any  of  those  belonging  to  the  French  nation,  since  it 
contains  more  of  the  original  tapestries  and  illus- 
trates more  of  the  original  cartoons  than  any  of 
them.  The  origin  of  several  of  the  prominent  series 
of  tapestries  heretofore  belonging  to  the  Barberini 
Collection  is  recited  on  pages  72  to  77  of  the  MS. 

28 


XLVIII,  in  Vol.  141,  preserved  among  tlie  Family 
Archives  in  its  celebrated  library.  From  tHis  docu- 
ment the  Chevalier  Zenuti  of  Florence  copied  the 
following  statement  for  me,  of  which  I  give  a  verbatim 
translation : 

"Account  given  by  the  learned  Luca  Holstenio  of  the 
Barberini  tapestries  with  prices,  commencing  with  those  which 
include  the  History  of  Constantine  the  Great,  Artemesia, 
Rinaldo,  Diana,  etc.,  presented  by  the  most  Christian  King, 
Louis  XIII  of  France,  to  Cardinal  Barberini,  Legate  to 
France,  1625." 

This  extract  proves  that  the  ten  tapestries  com- 
posing the  above-mentioned  series  Artemesia,  which 
are  the  subject  of  this  paper,  were  presented,  as 
heretofore  stated,  by  Louis  XIII  to  Cardinal  Fran9ois 
Barberini,  and  this  fact  naturally  entitles  them  to 
rank  among  the  most  historically  important  in  ex- 
istence. The  monogram  of  the  Cardinal  (F  B)  is 
stamped  on  the  lining  of  several  of  them,  and  that  of 
a  member  of  the  Colonna  family  on  the  lining  of  one. 
The  latter  stamp  indicates  that  some  were  included 
in  the  dot  of  Donna  Cornelia  Barberini  when  she 
married  Don  Julius  Colonna,  who,  thereafter,  by 
permission  of  the  Pope,  took  the  name  and  bore  the 

arms  of  the  Barberini. 

29 


The  Chevalier  Zenuti  also  copied  another  state- 
ment for  me  from  the  MS.  heretofore  designated,  of 
which  the  following  is  a  verbatim  translation : 

*'The  collection  which  illustrates  the  History  of  Artemesia 
is  of  the  same  excellence  in  quality  and  execution  as  the 
History  of  Constantine,  and  cost  the  same  price  per  aulne 
when  made." 

Eugene  Muntz,  Curator  of  the  Library  and 
Archives  in  the  Beaux  Arts  at  Paris,  and  the  author 
of  several  standard  works  on  tapestry,  published  in 
1874,  copious  extracts  from  the  aforesaid  MSS.  in  the 
Revue  des  Societes  Savantes,  and  states  in  his  preface 
that  in  addition  to  those  he  copied,  there  exist  in 
the  Barberini  Library  "other  documents  which  con- 
tain the  description  of  the  Gobelins  given  Cardinal 
Barberini  by  Louis  XIII  and  the  Gobelins,  on  sale, 
which  were  offered  him."  It  was  from  these  "other 
documents"  that  the  Chevalier  Zenuti  made  both  the 
extracts  heretofore  quoted. 

In  the  palace  of  the  kings  of  Bavaria  at  Munich 
there  is  a  large  room  wholly  decorated  with  tapestries 
belonging  to  a  series  Artemesia.  On  these  there  are 
neither   the  monogram  of  Catherine   nor   Marie   de 

30 


Medicis,  nor  any  of  their  sons,  yet  they  are,  according 
to  Guiffrey,  authentic  pieces  made  at  the  beginning 
of  the  XVII  century,  and  therefore  of  rare  import- 
ance and  value.  Naturally,  however,  those  which 
are  the  subject  of  this  monograph,  since  they  exhibit 
the  crown  and  arms  of  France  and  Navarre,  two 
royal  orders,  and  the  monogram  of  two  French 
monarchs,  are  of  materially  greater  historic  import- 
ance and  value.  In  the  Cabinet  of  MSS.  in  the 
National  Library  in  Paris,  there  is  a  document 
devoted  exclusively  to  the  history  of  Artemesia  and 
dedicated  to  Catherine  de  Medicis  by  the  author, 
Nicholas  Houel.  In  the  Cabinet  of  France,  in  the 
same  Library,  there  is  a  book  also  by  Houel,  in 
which  he  records  his  reasons  for  composing  the 
sonnets  heretofore  mentioned,  and  for  urging  that  the 
history  of  Catherine  de  Medicis  should  be  immortal- 
ized in  textile  paintings.  This  book  bears  on  its 
back  the  inscription,  "Tapisser  .  .  .  de  Cather  .  .  .  de 
Medici  ..."  and  on  its  front  the  arms  and  monogram 
of  Louis  XV,  and  the  inscription,  "Presented  to  the 
Cabinet  of  Engravings  of  the  King  by  M.  Roussel, 
Fermier   General,    in    1765."     Houel  died   in  1596. 

31 


The  book  remained  in  tlie  possession  of  M.  Bullion, 
Superintendent  of  Finances,  until  his  death  in  1640, 
when  it  was  inherited  by  his  grandson.  Count 
d^Esclimont,  Provost  of  Paris  in  172 1,  who  presented 
it  to  M.  Roussel.  The  cipher  of  Catherine  was  an 
X  with  a  crown  on  each  of  the  four  points. 
Houel  dedicated  this  book : 

*'To  the  most  virtuous,  most  illustrious,  and  most  excellent 
Princess,  Catherine  de  Medici,  Queen  of  France  and  mother  of 
the  most  Christian  King,  Charles,  IX  of  the  name ;  Nicholas 
Houel,  her  most  humble  and  affectionate  subject.     Greeting." 

If  space  permitted  I  would  translate  and  insert,  in 
his  own  words,  all  of  the  interesting  reasons  which 
prompted  Houel  to  his  self-imposed  task,  because  the 
results  had  far  wider  influence  and  shed  far  greater 
lustre  on  the  art  industries  of  France  than  he,  even 
in  the  highest  flights  of  his  fancy,  could  have 
anticipated.  I  must  however  content  myself  with  a 
summary  of  these  reasons. 

He  aimed  to  draw  up  in  writing  the  plans  for  a 
series  of  paintings  which  should  be  adapted  for 
interpretation  into  tapestries.  The  friends  whom  he 
consulted  not   only  encouraged  him  in  this  project 

32 


but  heartily  seconded  the  idea  that  the  compositions 
should  illustrate  the  history  of  Artemesia,  for  they 
believed  he  was  specially  fitted  for  the  task  since  he 
was  well  acquainted  with  the  best  painters  and 
sculptors  of  France  and  was  held  in  high  esteem  by 
them.  He  however  hesitated  on  account  of  his 
limited  means,  his  lack  of  acquaintance  with  the 
subject,  the  routine  of  his  vocation,  and  particularly 
because,  as  he  said,  "good  painters  are  rare  nowadays 
in  France  as  well  as  elsewhere,"  and  would  not  paint 
the  cartoons  unless  strongly  urged  and  well  paid. 
Nevertheless  his  earnest  desire  to  surprise  and  please 
the  Queen,  coupled  with  the  importunities  of  his 
friends  finally  decided  him  to  begin  the  undertaking. 
When  his  written  designs  and  painted  models 
were  nearly  finished  he  puzzled  over  the  best  means 
of  bringing  them  to  the  notice  of  his  Sovereign,  as 
he  knew  no  one  at  court,  although  he  had  business 
relations  with  some  of  its  highest  functionaries. 
While  in  doubt  what  plan  to  adopt,  she  unexpectedly 
called  at  his  residence  to  examine  some  celebrated 
curios  and  paintings  belonging  to  him.  He  naturally 
took  advantage  of  the  opportunity  to  have  her  read 

33 


what  he  had  already  written  concerning  the  history 
of  Artemesia,  and  see  some  of  the  cartoons  already 
painted.  Although  he  kept  her  a  great  while,  for 
his  dissertation  was  very  long,  yet  she  was  delighted 
with  what  she  read  and  saw.  This  happy  result 
encouraged  him  to  vigorously  continue  the  work, 
resolved  to  spare  nothing  which  would  render  it 
nearer  perfect  and  more  gratifying  to  her.  In  fact 
he  did  not  permit  personal  troubles  nor  even  civil 
war  to  interfere  with  its  progress.  When  he  had 
finished  his  written  plans  and  history,  and  when 
most  of  the  cartoons  were  ready  for  the  weavers,  he 
wrote  to  her,  saying: 

**  Your  Majesty  will  recall,  by  the  books  I  now  present  you, 
that  which  was  done  by  the  good  Queen  Artemesia,  which  is 
to-day  renewed  in  our  time,  so  that  it  can  be  said  that  our  age 
is  a  repetition  of  that  antique  era  in  which  reigned  the  good 
Princess  Artemesia.  Indeed  the  chief  end  of  my  work  has 
been  to  represent  you  as  Artemesia  and  to  exhibit  the  re- 
semblance between  her  era  and  ours." 

He  compared  Henry  II  with  Mausolus,  Catherine 
with  Artemesia,  Charles  IX,  the  Dauphin,  with 
Lygdamis,  son  of  Artemesia;  the  victory  over  the 
French  rebels  about  Orleans,  with  the  war  against 

34 


the  Rhodians;  the  Palace  of  the  Tuilleries,  Monceau 
and  Saint  Maur,  erected  by  Catherine,  with  the 
Mausoleum  at  Halicarnassus  and  the  monument  at 
Rhodes  erected  by  Artemesia. 

In  conclusion  he  wrote  that  in  his  history  and  in 
the  cartoons,  "which  were  painted  by  the  first  artists 
of  Italy  and  France,  she  would  find  much  to  please 
her  and  would  have  rare  and  exquisite  models  for 
translation  into  beautiful  and  costly  textile  paintings 
for  ornamenting  her  superb  residences." 

The  original  models  were  no  doubt  painted  between 
1565  and  1570,  as  HouePs  allusions  to  civil  war  point 
directly  to  that  conclusion.  The  era  in  which  the 
different  series  were  woven  is  easily  determined  by 
the  emblems,  ciphers,  and  monograms  in  their 
borders. 

The  mark  of  origin  and  the  monograms  of  the 
weavers  will  be  found  respectively  in  the  bottom  and 
sinister  upright  selvages. 

This  mark,  according  to  Guiflfrey  and  all  other 
authorities,  consists  of  a  P  before  or  after  a  fleur-de- 
lis,  or  two  P's  with  a  fleur-de-lis  between  them.  The 
P  alone  might  indicate  any  Parisian  atelier  but  the 

35 


presence  of  the  fleur-de-lis  designates  the  royal 
establishments  only. 

Guiffrey  says,  on  page  97  of  Histoire  Generale  de 
la  Tapisserie  en  France  that  "several  series  of  the 
history  of  Artemesia  contain  the  cipher  of  Marie  de 
Medicis,  an  M  and  an  A  interlaced,  either  alone  or 
accompanied  by  the  H  of  Henry  IV  ....  and,  in  the 
center  of  the  top  border,  the  escutcheons  of  France 
and  Navarre."  The  tapestries  numbered  9  and  10 
contain  not  only  the  above-mentioned  cipher  of  Marie 
de  Medicis,  but  the  escutcheons  of  France  and 
Navarre  as  well,  in  the  center  of  their  top  borders. 

On  the  installation  of  de  Comans  and  de  la 
Planche  at  the  Gobelins  about  the  dawn  of  the  XVII 
century,  by  Henry  the  Great,  the  Provost  and  Alder- 
men of  the  city  of  Paris  attempted,  but  without 
avail,  to  curtail  the  extraordinary  rights  and  privi- 
leges accorded  these  chefs  d'atelier.  Incensed  at 
their  failure,  they  consoled  themselves,  after  register- 
ing the  edict  of  the  King  in  its  original  form,  by 
issuing  a  decree  of  their  own  which  forbid  the  said 
chefs  d'atelier,  during  the  life  of  their  rights  and 
privileges,  "from  selling  any  other   tapestries   than 

36 


those  which  they  had  woven  and  which  were  counter- 
marked  with  the  fleur-de-lis  and  the  initial  letter  of 
the  city  in  which  they  were  woven."  Although  their 
action  was  no  doubt  largely  incited  by  spite  and 
jealousy,  yet  it  has  proven  of  great  service  since  it 
establishes  beyond  question  that  the  tapestries  woven 
in  the  early  Gobelins,  that  is,  the  atelier  of  de 
Comans  and  de  la  Planche,  were  required  to  bear  the 
fleur-de-lis  and  the  initial  letter  P  of  Paris.  The 
Artemesia  tapestries,  which  are  the  subject  of  this 
monograph,  bear  these  marks  of  origin,  but  as  all  the 
royal  ateliers  in  Paris,  notably  that  installed  in  the 
Gallery  of  the  Louvre,  likewise  used  them,  evidence 
of  another  nature  is  necessary  to  decide  that  the 
Artemesia  tapestries  issued  from  the  early  Gobelins. 
This  evidence  is  found  in  the  fact  that  they  bear  in 
the  upright  sinister  selvage  the  monogram  |\M , 
which,  with  comparatively  little  doubt,  is  composed, 
as  heretofore  stated,  of  the  initial  letters  of  the 
Christian  names  of  de  Comans  and  de  la  Planche, 
viz.:  M  for  Marc  and  F  for  Fran9ois.  The  mono- 
grams woven  in  the  right  hand  upright  selvages  of 
any  tapestries  are,  in  many  instances,  those  of  the 

37 


weavers  specially  charged  with  the  production  of  the 
particular  pieces  in  which  they  appear.  Nevertheless 
several  of  the  most  renowned  chefs  d'atelier  in 
Flanders,  like  Raes  and  Geubels,  signed  their  pro- 
ducts in  these  selvages,  particularly  when  they  were 
collaborators  in  the  creation  of  the  same  series. 
There  is  therefore  every  reason  to  believe  that  de 
Comans  and  de  la  Planche,  who  were  of  Flemish 
origin,  did  likewise,  and  that,  as  they  were  jointly  at 
the  head  of  one  and  the  same  atelier  for  several  years 
after  their  arrival  in  Paris,  they  signed  their  products 
with  one  and  the  same  monogram  made  up  in  the 
manner  above-mentioned.  Such  a  belief  is  supported 
by  the  fact  that  when  they  separated  they  both 
frequently,  if  not  always,  wove  their  individual 
monograms  in  the  right  hand  upright  selvages  of  the 
tapestries  which  issued  from  their  respective  ateliers. 
In  addition  it  is  natural  to  believe  that,  having  been 
summoned  from  Flanders  by  Henry  IV  expressly  to 
introduce  the  system  of  weaving  tapestries  known  as 
"fa9on  de  Flandre"  into  France,  they  observed  as 
many  national  characteristics  in  their  undertaking 
as   possible,    among   which   the   method  of  signing 

38 


tapestries  in  vogue  in  their  own  country  would 
rank,  next  to  the  system  of  weaving,  as  the  most 
prominent. 

I  submitted  my  idea  of  the  origin  of  the  monogram 
in  question,  with  the  reasons  which  gave  it  birth,  to 
Guiffrey  in  practically  the  same  language  as  I  have 
used  above,  and  in  reply  he  wrote,  among  other 
interesting  things:  "Your  idea  of  the  explication  of 
the  monogram  KM  seems  to  me  very  ingenious  and 
apparently  correct.  As  it  is  more  than  probable  that 
we  will  never  have  any  absolutely  certain  explan- 
ation of  it,  you  can  safely  use  the  interpretation  that 
you  have  discovered,  with  the  conviction  that  no  one 
can  contradict  it." 

A  number  of  the  most  valued  tapestries  in  the 
Garde-Meubles  of  Paris  and  Vienna  bear  the  same 
monogram,  but  unfortunately,  although  the  names 
of  the  chefs  d'atelier,  like  de  Comans,  de  la  Planche, 
Dubourg,  Laurent,  Jans,  Lefebvre  and  others  have 
passed  into  history,  those  of  the  more  humble  artists 
who  worked  under  them  have  in  the  main  been  lost. 

On  page  299  of  Guiffrey's  inventory  of  the  works 
of  art  belonging  to  Louis  XIV  there  is  a  description 

39 


of  the  borders  of  a  series  Artemesia  now  in  the 
National  Garde-Meuble  at  Paris  which  practically 
defines  those  belonging  to  tapestries  numbered  9  and 
10.  The  following  paragraph  is  an  exact  translation 
of  this  description : 

"29 — Artemesia — A  series  of  tapestry  in  wool  and 
silk,  enriched  with  gold,  made  in  Paris  at  the  manu- 
factory of  the  Gobelins,  representing  the  history  of 
Artemesia,  designed  by  Lerambert,  in  a  border  with 
dark  ground,  in  the  top  of  which  is  a  blue  oval  space 
in  a  cartouch,  at  each  side  of  which  are  trophies  and 
prisoners  of  war  in  clair-obscure,  in  each  of  the  four 
corners  is  the  muzzle  of  a  lion,  in  each  of  the  lateral 
borders  two  Ms,  interlaced  with  a  caduceus,  and  in 
the  bottom  border  the  arms  of  Navarre ^ 

The  words  underscored  do  not  apply  to  the  borders 
of  tapestries  9  and  10  heretofore  designated,  but 
errors  are  often  found  in  old  inventories,  because 
they  were  usually  taken  by  household  officials  and 
scarcely  ever  by  experts.  For  instance,  the  mono- 
gram of  Marie  de  Medici s  consisted  of,  as  history 
proves,  an  M  and  an  A  interlaced,  and  not  of  two 
Ms.     The   four   crossed   batons    of   royalty   in   the 

40 


bottom  borders,  together  with  the  stems  of  the  letters 
M  and  A  interlaced,  might  well  be  mistaken,  without 
close  observation,  for  the  crossed  chains  on  the 
escutcheon  of  Navarre.  Marie  de  Medicis  was  not 
simply  Queen  of  Navarre,  but  Queen  of  both  France 
and  Navarre  united,  as  Navarre  was  joined  to  France 
by  Henry  the  Great  when  he  mounted  the  French 
throne,  after  the  decisive  battle  of  Ivry,  and  several 
years  before  he  married  the  Florentine.  It  is  not 
reasonable  to  suppose  therefore  that  she  would  have 
permitted  the  arms  of  Navarre  unaccompanied  by 
those  of  France  to  be  woven  in  any  royal  tapestries, 
especially  those  which  illustrated  her  grief  at  the  loss 
of  the  husband  whose  prowess  had  given  him  the 
power  to  make  her  Queen  of  France. 

In  further  proof  that  old  inventories  often  contain 
errors,  both  Guififrey's  Histoire  Generale  de  la  Tapis- 
serie  en  France,  and  Guichard's  Les  tapis  series  decora- 
tives  du  Garde-Meuble,  contain  an  illustration  of  a 
tapestry  belonging  to  a  series  Artemesia,  now  in  the 
Garde-Meuble  at  Paris,  which  represents  the  nobility 
of  the  French  court  paying  homage  to  the  Queen 
and  the  young  Prince.     The  border  of  this  tapestry 

41 


is  not  described  in  the  inventory  of  Louis  XIV  as 
belonging  to  any  series  Artemesia,  but  is  described 
in  said  work  as  belonging  to  a  series  Coriolanus. 
Wben  a  tapestry  or  its  border  clearly  compares  in  a 
general  way,  and  in  most  of  its  particulars,  witb  an 
old  inventory  known  to  have  been  drawn  up  by  the 
family  or  state  to  which  the  tapestry  once  belonged, 
the  source  of  its  origin  as  named  in  said  inventory  is 
accepted  as  conclusive  unless  there  are  proofs  to  the 
contrary.  The  cartoons  for  the  borders  were  not 
loaned  by  one  artist  to  another,  but  were  usually 
the  property  of  the  chefs  d^atelier  who  interpreted 
them  into  warp  and  woof.  Consequently  the  char- 
acter and  composition  of  the  borders  often  clearly 
designate  both  the  date  and  place  of  origin  of  a 
tapestry,  and  either  confirm  or  contradict  the  written 
evidence,  as  the  case  may  be. 

I  am  thoroughly  convinced,  after  carefully  weigh- 
ing all  the  pros  and  cons  by  the  light  of  my 
experience,  that  tapestries  numbered  9  and  10  are 
part  of  a  series  Artemesia  now  in  the  Garde-Meuble 
at  Paris,  and  that  they  were  woven  at  the  Gobelins 
by  command  of  Marie  de  Medicis. 

42 


I  am  also  thoroughly  convinced,  and  in  the  same 
manner,  that  tapestries  numbered  i  to  8,  both  in- 
clusive, in  this  paper,  are  part  or  all  of  a  special 
series  Artemesia  likewise  woven  at  Gobelins  by  her 
orders.  They  bear  to  be  sure  the  cipher  of  her  son, 
but  as  they  either  chronicle  episodes  in  which  she 
appears  personally  in  the  principal  part,  or  manifests 
her  supervision  through  others,  and  as  dissensions 
sprang  up  between  them  almost  as  soon  as  he 
assumed  the  reins  of  power,  which  ended  in  her  exile 
from  court,  it  is  only  reasonable  to  conclude  that  they 
were  woven  while  she  was  in  the  plentitude  of  her 
power. 

In  further  support  of  this  conclusion,  all  the 
standard  works  on  tapestries  unite  in  the  declaration 
that  all  the  series  Artemesia  were  woven  by  the 
commands  of  queens  of  France  in  the  royal  ateliers 
of  the  kingdom. 

Darcel,  Curator  of  the  Cluny  Museum  and  formerly 
Director  General  of  the  Gobelins,  doubts  that  the 
series  Artemesia  woven  at  the  Trinity  by  Dubourg 
for  Catherine  de  Medicis  survived  the  vandalism  of 
the  Reign  of  Terror. 

43 


The  borders  on  the  series  ordered  by  Marie  de 
Medicis  are  totally  unlike  those  on  the  designs  in  the 
Cabinet  of  Engravings.  Among  other  variations  the 
emblems  representing  the  widowhood  of  Catherine 
are  supplanted  by  the  monogram  of  Marie,  as  is 
shown  in  the  borders  of  tapestries  numbered  9  and 
10  of  my  Artemesia  series. 

Guiflfrey,  in  his  Histoire  Generale  de  la  Tapisserie 
en  Finance,  devotes  many  pages  to  the  Artemesia 
tapestries  and  declares  them,  as  does  Castel  in  Les 
Tapisseries^  among  the  most  interesting,  precious 
and  important  that  the  world  has  ever  produced. 
Guififrey,  in  his  less  extended  books,  writes  of 
them  at  less  length  naturally,  but  with  equal 
enthusiasm.  Inasmuch  as  they  have  filled  for 
centuries  a  grand  artistic  and  historic  role  in  the 
tapestry  world,  every  prominent  work  on  French 
tapestry  extols  their  merits,  reproduces  examples 
of  them,  and  records  their  origin,  history  and  pro- 
longed popularity. 

In  a  late  letter  received  from  Guiffrey,  he  states 
among  other  valuable  and  interesting  matter  regard- 
ing them,  that: 

44 


'  *  The  series  Artemesia  is  one  of  the  most  beautiful  and  one 
of  the  most  celebrated  that  were  created  in  the  Parisian  ateliers 
during  the  first  half  of  the  seventeenth  century,  and  the  pro- 
ducts of  these  ateliers,  of  which  I  have  written  a  concise  history 
in  my  works,  are  comparable  for  the  perfection  of  their  execu- 
tion with  the  most  faultless  and  most  vaunted  of  the  time  of  Le 
Brun  and  Colbert." 

I  have  not  quoted  GuifFrey  as  fully  as  I  would  if 
lie  had  not  already  published  extended  and  highly 
eulogistic  opinions  of  them  in  his  work  heretofore 
mentioned  and  in  his  history  of  the  ateliers  of  de 
Comans  and  de  la  Planche. 

I   have   also  lately  received  the   following  letter 

from  Gerspach,  the  previous  Director  General  of  the 

Gobelins,    concerning   them,  which   I  quote   in  full 

because,  unlike  Guiffrey,  he  has  not  heretofore  had 

any  occasion  to  publish  more  than  a  brief  opinion  of 

them: 

'  *  In  which  of  the  ateliers  of  Paris  your  series  Artemesia  was 
woven,  it  is  difi&cult  to  determine,  but  the  question  is  of  very 
little  importance  since  it  is  incontestable  that  all  issued  from 
the  royal  manufactories  which  preceded  the  reorganization  of 
the  Gobelins  in  1662.  Of  the  eighty-four  pieces  which  con- 
stituted the  total  of  all  the  several  series  Artemesia  included  in 
the  inventory  of  I,ouis  XIV,  the  French  government  now 
possesses  only  twenty-eight,  and  I  know  of  none  others  in 
existence  excepting  the  ten  heretofore  belonging  to  the 
Barberini  family  and  now  forming  part  of  your  collection. 

45 


"I  consider  the  series  Artemesia  superior  in  artistic  im- 
portance to  the  best  series  woven  at  the  Gobelins  under  lyouis 
XIV.  I  am  a  stubborn  adversary  of  the  reproduction  of 
paintings  in  tapestries,  and  it  follows  therefore  that  I  am  an 
unyielding  partisan  of  models  painted  and  composed  solely  for 
translation  into  them.  All  the  materials  employed  in  the  art  of 
tapestry  weaving  possess  especial  qualities  peculiar  to  them- 
selves and  it  is  necessary  that  the  artist  furnishing  the  model 
should  understand  and  appreciate  these  qualities  if  he  wishes 
that  his  design  should  be  well  interpreted.  Lerambert  painted 
the  models  for  the  series  Artemesia  expressly  for  interpretation 
into  tapestries  while  lyC  Brun  often  translated  paintings  upon 
the  tapestry  loom  which  were  not  conceived  for  that  purpose. 
At  the  same  time,  in  the  composition  of  the  subject,  I^e  Brun 
was  too  realistic  and  scorned,  so  to  speak,  conventionalism, 
while  the  models  of  Lerambert,  on  the  contrary,  fully  recog- 
nized the  tacit  understanding  which  should  always  exist 
between  artist-painter  and  artist-weaver,  and  which  is  the  real 
essence  of  textile  painting. 

*'The  sobriety  in  the  colors  of  the  series  Artemesia  has,  in  my 
.  eyes,  a  primordial  quality  which  gives  to  the  work  an  aspect  of 
force  and  sincerity.  The  weaving,  following  the  traditions  of 
the  best  epochs,  was  done  with  as  few  colors  and  as  few  tones 
of  each  color  as  possible  and  by  means  of  free  colors,  that  is  to 
say,  the  weavers  did  not  employ  two  threads  of  different  colors 
to  produce  the  effect  of  a  third  color,  and  we  must  attribute  the 
remarkable  preservation  of  all  the  colors  to  this  fact.  Inasmuch 
as  all  the  colors  employed  in  tapestry  weaving  have  not  the 
same  powers  of  resistance,  it  follows  that  when  two  threads  of 
different  colors  are  woven  in  as  one,  they  rarely  hold  their 
strength  equably,  and  from  this  cause  results  the  rupture  in 
their  harmony  and  the  crumbling  of  the  tones  in  general. 

"  In  conclusion,  your  series  Artemesia  constitutes  a  work  of 
art  of  the  first  order.     It  was  commanded  by  a  sovereign  of 

46 


France;  it  was  woven  in  a  royal  atelier  according  to  the 
methods  of  the  best  epochs,  and  its  subjects  are  particularly- 
noble  and  distinguished.  I  have  always  regretted  that  the 
Gobelins  did  not  persevere  in  the  path  which  the  ancient 
ateliers  of  Paris  had  so  nobly  marked  out  for  it.  On  every 
occasion  that  was  offered,  during  the  time  I  was  Director 
General  of  that  illustrious  establishment,  I  conducted  the 
artist-painter  charged  with  designing  a  model  and  the  artist- 
weaver  charged  with  its  interpretation,  as  well  as  the  journey- 
man, before  a  piece  of  Artemesia  exhibited  in  its  museum,  and 
said  to  them :  '  This  is,  in  my  judgment,  an  example  of  a 
perfect  type  of  superb  and  decorative  tapestries.'  " 

I  am  naturally  mucli  gratified  with  the  character 
of  Gerspach's  entire  letter,  but  am  especially  pleased 
with  his  closing  paragraph,  for  a  Director  General  of 
the  Gobelins  could  not  possibly  pay  a  higher  compli- 
ment to  any  tapestries  than  to  exhibit  them  to  his 
subordinates  as  his  choice  of  models  for  their  guid- 
ance in  future  work. 

I  bought  all  the  tapestries  composing  the  series 
which  are  the  subject  of  this  paper,  in  the  Barberini 
Palace,  directly  of  the  family,  without  the  assistance 
of  any  intermediary.  They  are  all  virgin  specimens 
of  antique  textile  painting,  none  have  had  their 
colors  touched  up  or  renewed  in  any  fashion, 
and  none   have   been  submitted   to   any  alterations 

47 


whatever.  In  consequence  they  are  all,  with  the 
exception  of  some  trifling  repairs,  exactly  in 
their  original  condition,  as  delivered  from  the  royal 
ateliers  of  Marie  de  Medicis  and  Louis  XIII. 

It  is  proper  that  these  unusual  and  important 
advantages  should  be  recognized  and  enlarged  upon, 
because  so  many  of  the  tapestries  offered  for  sale  in 
Europe  have  been  darned  or  patched,  instead  of 
repaired  after  the  manner  in  which  they  were 
originally  woven,  or  their  colors  have  been  renovated 
by  the  application  of  paints,  or  their  original  borders 
have  been  removed  and  replaced  by  modern  ones  far 
less  ornate  in  design  and  far  more  ordinary  in 
execution. 

The  consent  of  the  Italian  Government  to  the 
exportation  of  the  famous  Barberini  Collection  of 
tapestries  was  procured  by  the  powerful  friends  and 
connections  of  the  Princesses  Barberini,  and  could 
not  have  been  obtained  by  any  foreigner.  The 
experts  chosen  by  the  Italian  Minister  of  Public 
Instruction  to  examine  them,  classed  them  all  as 
works  of  art.  In  consequence,  it  was  necessary  to 
pay   upon   every   one   the   tax  of  twenty   per   cent 

48 


ad  valorem  levied  by  the  Italian  Government  on  the 
exportation  of  all  antique  works  of  art  from  Rome. 
In  evidence  of  this  payment  and  in  attestation  of  the 
ofi&cial  permission  to  export  them,  the  aforesaid 
Minister  caused  his  official  seal  to  be  affixed  to  every 
one  of  them.  Without  these  seals  they  would  have 
been  stopped  at  the  frontier  by  the  Custom  House 
authorities,  not  allowed  to  leave  Italy,  and  the 
interested  parties  would  have  been  subjected  to  fine 
and  imprisonment. 

All  the  principal  newspapers  of  the  kingdom 
published  an  account  of  their  sale.  Many  bewailed 
the  country's  loss  in  sorrowful  and  indignant 
language,  and  some  demanded  that  the  Government 
should  reprimand  and  dismiss  the  officials  who  had 
permitted  their  exportation.  The  excitement  caused 
by  these  newspaper  publications  and  the  speech  of 
Prince  Odescalchi,  in  the  Italian  Senate,  censuring 
the  Minister  of  Public  Instruction,  decided  me  to 
submit  them  to  a  jury  of  experts  of  the  Royal 
Galleries  of  the  Uffizi  at  Florence,  who,  upon  the 
payment  of  an  additional  tax  of  one  per  cent  ad 
valorem,    affixed   to    every    one    the    seal    of    said 

49 


galleries,  confirming  the  high  artistic  value  placed 
upon  them  by  the  Vatican  experts,  and  identifying 
them  as  having  paid  the  export  tax  heretofore 
mentioned.  Consequently  each  tapestry  bears  two 
seals. 


50 


|)s$mpli0n  0^  i\$  Parbfr$ 


In  the  center  of  each  top  border  of  eight  of  these 
tapestries  is  a  cartouch  which  encloses  the  arms  of 
France  and  Navarre.  These  arms  consist  of  the 
lilies  of  France  on  a  dark  bine  ground  and  the 
crossed  chains  of  Navarre  on  a  rose  or  red  ground, 
both  encircled  by  the  collar  of  the  order  of  St. 
Michael,  as  well  as  that  of  the  Holy  Spirit,  with  its 
pendant  cross,  and  both  surmounted  by  the  royal 
crown. 

In  the  center  of  each  bottom  border  of  the  same 
eight  is  a  cartouch  which  encloses  upon  a  dark  blue 
ground  two  crossed  batons  of  sovereignty  upon 
which  rests  the  cipher  of  Louis  XIII  encircled  by  a 
decorative  ribbon.  To  the  right  and  left  of  these 
cartouches  are  exquisite  arabesque  designs,  orna- 
mented with  birds,  mainly  of  the  owl,  thrush  and 
finch  families. 

51 


In  the  center  of  each  upright  border  of  the  same 
eight  is  a  cartouch  which  encloses  an  exquisite 
cameo  head,  on  a  blue  ground,  supporting  a  tiny 
basket  of  flowers.  A  dove  with  outstretched  wings 
is  perched  on  the  top  of  each  of  these  lateral 
cartouches,  and  pecks  at  the  fruit,  in  the  bouquet  of 
leaves  and  fruits,  which  hangs  by  ribbons  from  a 
spur  of  the  ornament  in  each  top  corner. 

In  every  corner  of  the  same  eight  is  a  cartouch 
which  encloses  a  bouquet  of  arabesque  sprays.  A 
parroquet  with  outstretched  wings  is  perched  on  the 
top  of  the  decoration  in  each  lower  corner  and  pecks 
at  the  fruit  in  the  bouquet  of  flowers  and  fruits, 
hanging  by  ribbons  from  the  cartouch,  in  the  center 
of  each  upright  border. 

It  is  interesting  to  note  the  charming  frequency 
with  which  the  master-weavers  changed  the  positions 
of  the  different  birds  in  several  of  the  borders,  and 
varied  the  pose  of  the  same  bird  in  its  different 
places.  It  was  a  capital  idea  to  attach  the  cartouches 
to  the  frame  of  the  borders  and  to  make  the  back- 
ground, upon  which  all  the  motives  were  woven, 
exceedingly   dark,    for  this   treatment  throws  these 

52 


motives  out  in  such  bold  relief  that  the  bouquets 
appear  as  if  hanging  in  space  and  the  arabesques  as 
if  independent  of  the  background,  with  the  birds 
flitting  in  and  out  of  their  graceful  tracery. 

Gerspach  says  of  them:  "The  borders  of  your 
Artemesia  series  are  chef  d'oeuvres.  They  are  less 
rich  and  sumptuous  than  most  of  those  after  Le 
Brun,  so  much  the  better;  but  they  are  infinitely 
more  architectonic  and  more  satisfactorily  fill  the 
functions  of  a  border,  which  is  to  isolate  the  subject 
without  attracting  the  attention  too  strongly." 

The  central  cartouch  in  each  top  border  of  two  of 
these  tapestries  encloses  an  oval  space  colored  in 
blue  and  white;  and  that  in  each  lower  border 
encloses  the  monogram  of  Marie  de  Medicis  and  four 
batons  of  royalty  tied  together  by  a  ribbon  on  a  dark 
blue  ground.  Both  cartouches  are  flanked  by  ex- 
quisite heads  of  children  in  camaieu.  To  the  right 
and  left  of  these  heads  in  both  the  top  and  bottom 
borders  of  the  larger  tapestry  are  oval  cartouches 
enclosing  miniature  trophies  and  prisoners  of  war  in 
camaieu  upon  a  gold  ground,  which  in  themselves 
are  works  of  art.     In  every  comer  there  is  a  mask 

53 


on  a  green  ground,  and  from  all  the  corners  spring 
two  architectural  sprays  each  of  which  partly  en- 
closes the  beautiful  miniature  head  of  a  young  satyr 
in  camaieu  on  a  red  ground.  In  the  center  of  each 
of  the  lateral  borders  is  a  rectangular  cartouch  which 
encloses  the  monogram  of  Marie  de  Medicis  inter- 
laced with  the  caduceus  by  a  ribbon  on  a  dark  blue 
ground.  Above  and  below  are  oval  cartouches,  each 
of  which  encloses  a  diminutive  allegorical  figure  in 
camaieu  on  a  gold  ground.  The  top  and  bottom 
borders  of  the  narrower  tapestry  are,  because  of  its 
lesser  width,  without  the  cartouches  decorated  with 
trophies  and  prisoners  of  war. 

These  borders  rank  as  masterpieces  of  textile 
painting  and  not  only  excite  the  unbounded  ad- 
miration of  connoisseurs,  but  are  the  envy  and 
despair  of  modern  tapestry  weavers. 


54 


Ji$mpt}0n  nnh  Jmmtntd  girtli  ttf  ut\  lHp$$lr^ 


The  first  tapestry  represents  the  Queen  and  the 
Dauphin,  with  hands  clasped  as  in  prayer,  kneeling 
in  front  of  a  pagan  altar  which  stands  upon  the 
threshold  of  a  temple,  and  upon  which  a  full-bearded 
high  priest  sacrifices  a  bull.  In  accordance  with  the 
customary  rites,  he  sprinkles  the  immolated  animal, 
as  the  flames  reduce  it  to  ashes,  with  a  sacrificial 
meal  composed  of  coarse  grains  of  spelt  and  salt. 
Behind  him  stands  a  barefooted  assistant  crowned 
with  laurel  and  holding  an  urn.  In  the  rear  of  the 
Queen  and  Dauphin  kneel  a  number  of  courtiers, 
and  on  their  left  stand  a  few  servitors  or  spectators. 
Both  the  royal  personages  are  crowned.  The  mother 
wears  an  embroidered  robe  and  a  long  veil,  and  the 
son  a  rich  costume  befitting  his  rank.  The  faces 
and  figures  of  both,  as  well  as  those  of  the  maids 
of  honor   immediately   behind   them,   are   excellent 

55 


examples  of  textile  painting,  but  the  head  and  bust 
of  the  servitor  clasping  the  column  are  remarkable 
examples  in  character,  pose,  and  expression.  Six 
tiny  and  nude  boy  choristers,  in  groups  of  three 
each,  chant  the  services  from  the  music  books  held 
in  their  hands.  The  priest  in  the  right  foreground 
has  probably  been  charged  with  their  musical  edu- 
cation, or  at  least  they  have  been  temporarily  placed 
under  his  care.  In  the  background  a  butcher  leads 
a  bull  to  slaughter,  as  the  priests  perform  over  it 
the  usual  rites  necessary  to  prepare  it  for  sacrifice. 

The  whole  composition  impressively  exhibits  the 
reverent  air  of  the  priests  in  the  performance  of  their 
duties  as  well  as  the  fervor  with  which  the  wor- 
shipers follow  the  services.  The  actors  in  the 
different  roles  have  been  skillfully  posed  and 
grouped,  and  all  their  costumes  have  been  shaded 
with  excellent  taste  and  judgment  so  that  they 
should  not  contrast  too  strongly  with  the  flesh  tints 
of  the  boy  choristers.  Nearly  all  the  light  falls  upon 
the  figures  and  the  landscape,  and  comparatively 
little  penetrates  to  the  recesses  of  the  portico.  In 
consequence  its  columns,  ceiling  and  side  walls  were 

56 


woven  in  sombre  colors,  so  as  to  throw  out  in  strong 
relief  the  carnations  and  sedately  toned  draperies  in 
the  foreground,  thus  producing  delightfully  decora- 
tive results  equally  charming  to  both  eye  and  mind. 
The  second  tapestry  represents  six  dignitaries 
of  the  court  bearing  to  their  homes  the  gifts  the 
Queen  has  presented  them.  Two  carry  upon  a 
stand,  resting  upon  a  stretcher,  which  is  covered  by 
a  richly  embroidered  cloth  and  supported  from  their 
shoulders,  a  large  handsomely  decorated  vase, 
flanked  by  two  small  ones,  all  filled  with  coins.  The 
one  who  holds  aloft  a  rich  vase  is  a  bronzed  athlete, 
whose  figure,  being  in  deep  shadow,  was  naturally 
woven  in  darker  hues  than  any  of  the  others.  The 
knight  who  carries  with  upraised  arm  a  magnificent 
ewer  upon  his  shoulders  is  well  formed,  beautifully 
posed,  walks  with  strong,  springy  step,  and  bears  his 
'  gift  with  grace  and  ease.  In  fact  his  figure  is  a 
work  of  art  in  its  ideal  illustration  of  rhythmic 
movement.  The  dignitary  in  the  rear  who  holds  an 
amphora,  is  less  gracefully  posed  than  the  preceding, 
and  evidently  meditates  upon  some  project.  The 
soldier,  standing  at  the  side  of  the  last  named,  has  an 

57 


animated  and  interesting  face  and  regards  his  medi- 
tative companion  with  an  amused  expression.  Four 
of  them  wear  helmets  and  two  are  crowned  with 
wreaths  of  laurel.  The  background  scene  is  woven 
in  soft  and  delicate  tones.  Its  principal  elements, 
consisting  of  an  obelisk,  a  stream,  a  bridge,  and  a 
fortified  palace,  are  bathed  in  light,  which  is  beauti- 
fully reflected  on  the  rippling  water.  The  whole 
tapestry  is  remarkable  for  the  vigor  of  its  com- 
position, for  the  nobility  and  dignity  of  its  person- 
ages, for  its  display  of  life  and  movement,  for  its  rich 
and  picturesque  costumes,  for  its  decorative  and 
perspective  qualities,  and  for  the  strength  and 
sobriety  of  its  general  tones. 

Thk  third  tapestry  represents  a  concourse  of 
people  assembled  in  front  of  a  statue  of  Justice  to 
listen  to  the  reading  of  a  petition  by  the  herald  on 
horseback.  Behind  him  four  trumpeters,  likewise 
on  horseback,  announce  the  opening  of  the  pro- 
ceedings by  the  usual  fanfare.  The  banner  on  the 
nearest  trumpet  bears  the  cipher  of  Louis  XIII, 
encircled  by  laurel  branches  and  surmounted  by  a 
crown.     Two  naked  children  sit  on  the  steps  at  the 

58 


base  of  the  statue  with  their  arms  around  each  other. 
Near  them  stands  the  Dauphin,  crowned  with  laurel 
and  clinging  to  his  tutor.  The  edifice  in  the  center 
of  the  background  is  probably  intended  to  represent 
the  tomb  of  Mausolus.  The  horses  are  badly 
grouped,  for  they  are  massed  in  a  manner  which 
brings  too  many  of  their  legs  into  line.  The  nearest 
one  is,  excepting  its  head  and  neck,  rather  stiff  and 
wooden.  The  early  Gobelins  was  infinitely  more 
successful  in  illustrating  human  figures  than 
animals,  as  every  one,  who  has  examined  many  of 
the  important  tapestries  woven  there  in  the  early 
part  of  the  XVII  century,  can  testify.  The  head, 
neck,  and  shoulders  of  the  leading  horse  and  all  of 
the  brown  one  behind  it  that  is  visible,  have,  how- 
ever, been  reproduced  with  noticeable  fidelity  to 
nature.  The  multitude  of  figures  clothed  in  rich 
and  picturesque  costumes  create  a  wealth  and 
warmth  of  color  which,  with  the  dark  toned  architec- 
ture and  the  vivid  delineation  of  the  story,  make  this 
tapestry,  notwithstanding  the  objections  mentioned, 
one  of  the  most  effective  examples  of  decorative  art 
in  the  series.     A  tapestry   can  fill  its  niche   in  art 

59 


with  splendor  and  yet  lack  the  correctness  in  design 
required  in  a  painting,  because  its  magnificence 
depends  more  upon  the  harmony  and  vivacity  of  its 
colors  than  upon  the  delicacy  and  accuracy  of  its 
drawing. 

Thk  fourth  tapestry  represents  the  Queen, 
seated  upon  a  dais,  in  the  open  air,  distributing 
presents  to  some  of  the  officers  of  her  army.  She 
wears  the  head-piece  and  body  armor  of  a  Minerva,  a 
richly  embroidered  gown  and  tunic,  and  a  long 
picturesquely  colored  veil  attached  to  her  helmet. 
She  is  beautifully  posed,  performs  her  functions  with 
dignity  and  grace,  and  has  an  interesting,  thoughtful 
and  serious  face.  The  kneeling  servitor,  who  holds 
within  easy  reach  a  vessel  filled  with  trinkets  and 
jewelry,  from  which  she  makes  her  selections, 
watches  the  scene  with  unmistakable  curiosity  and 
interest.  The  officer  who  approaches  and  receives 
his  gift  directly  from  the  hand  of  his  sovereign,  is  a 
magnificent  specimen  of  manhood;  tall,  athletic,  and 
well  formed,  moving  with  grace  and  strength,  his 
calm  and  finely  moulded  features  betray  no  trace  of 
excitement,  although  one  can  read  devotion   in  his 

60 


eyes.  He  is  richly  attired  as  a  Roman  warrior  and 
carries  on  his  shoulder  the  standard  of  the  legion 
under  his  orders.  The  right  field  is  filled  by  two 
huge  palm  trees  and  a  splendid  group  of  officers, 
dressed  and  armed  as  Romans,  most  of  whom  carry 
their  spears  or  the  standards  of  their  troops. 
Practically,  all  are  strong  featured,  determined  look- 
ing, able-bodied  chiefs,  whom  the  Queen  might  well 
be  proud  to  honor  and  command.  Near  them  stand 
a  couple  of  amazons  earnestly  engaged  in  con- 
versation with  the  soldier  behind  the  huge  shield. 
In  the  foreground  superb  vases,  ewers  and  urns, 
collars  of  precious  stones  and  princely  orders, 
quivers  of  arrows,  spear-heads,  and  shields,  are 
mingled  in  rich  profusion.  In  the  rear  of  the  Queen 
stand  a  couple  of  guardsmen  and  an  attendant,  who 
are  deeply  interested,  no  doubt  to  the  point  of 
exciting  their  ambitions,  in  the  grand  scene  in  which 
they  now  fill  but  an  humble  part.  In  the  far 
background  is  a  beautiful  glimpse  of  Paris  and  of 
one  of  the  bridges  across  the  Seine.  In  the  center 
plan  a  herd  of  deer  sport  on  the  grounds  near  the 
Queen's  palace,  upon  the  steps  of  which  two  women 

6i 


are  standing.  The  successive  points  in  the  per- 
spective made  by  the  gold  and  silver  vessels  in  the 
immediate  foreground,  by  the  Queen  on  her  dais,  by 
the  Amazons,  by  the  women  on  the  palace  steps,  by 
the  deer  in  the  park,  by  the  river,  and  lastly  by  the 
towers  in  the  far  background,  give  wonderful  depth 
to  the  composition.  In  a  tapestry  like  this  where 
nearly  every  feature  deserves  praise,  it  is  almost 
invidious  to  discriminate,  but  the  most  conspicuous 
merits  are  the  successful  treatment  of  the  lights  and 
shades,  the  magnificent  trophies,  the  extraordinary 
perspective,  the  rich,  warm  colors  of  the  main  scene, 
the  splendid  costumes,  the  gracefully  grouped, 
admirably  posed  and  superbly  drawn  personages, 
and  the  strength  and  animation  of  the  whole 
composition. 

The  fifth  tapestry  represents  the  Queen, 
standing  on  the  steps  of  her  palace,  deeply  interested 
in  the  riding  lessons  given  the  Dauphin.  She  wears 
a  crown  and  carries  the  baton  of  sovereignty.  Her 
long,  picturesquely  colored  and  richly  embroidered 
veil  is  fastened  beneath  her  crown  and  trails  to  the 
ground  behind  her.     She  has  a  thoughtful,  serious, 

62 


but  haughty  face,  and  evidently  realizes  that  she  is 
the  ruling  spirit  of  the  occasion.  The  Dauphin  is 
likewise  crowned,  wears  a  superb  costume,  and  rides 
a  royally  caparisoned  pony,  the  head  of  which  is 
decorated  with  a  bouquet  of  gayly  colored  feathers. 
He  has  a  fine  figure  and  makes  a  beautiful  picture 
as  he  sits  and  manages  his  horse  with  grace  and 
ease,  although  listening  attentively  to  the  instruc- 
tions of  the  grand  equerry.  The  latter  wears  a 
helmet  adorned  with  feathers  and  is  mounted  on  a 
richly  caparisoned  steed,  with  three  large  blue  and 
red  ostrich  feathers  fastened  in  its  head-gear.  He 
is  well  formed  and  athletic,  and  has  a  strong,  earnest 
face,  and  is  evidently  a  master  of  equitation.  It  is 
certain,  judging  by  the  actions  of  both  animals,  as 
well  as  by  the  size  of  the  plot  upon  which  the  riding 
lessons  are  given,  that  they  are  only  intended  to 
teach  the  Dauphin  how  to  caracole  his  horse  on 
parade  or  review,  and  how  to  manoeuvre  him  quickly 
and  adroitly  in  emergencies  or  compact  spaces  such 
as  might  arise  in  the  press  of  battle.  In  the  fore- 
ground to  the  right  is  a  colossal  statue  of  Hercules. 
Further  back,  on  the  ground  below   the  esplanade, 

63 


stands  a  troop  of  cavalry,  the  body-guard  of  the 
Queen  and  Daupliin.  At  the  feet  of  the  Queen,  and 
likewise  on  the  ground  below  the  esplanade,  are  two 
men-at-arms;  at  her  left  and  behind  her  are  two 
more,  as  well  as  a  few  courtiers,  all  of  whom  have 
capital  heads  and  well  moulded  features,  particularly 
the  woman  nearest  the  Queen,  who  is  evidently  a 
person  of  distinction.  The  man  leaning  forward 
against  the  pedestal  of  the  column  clearly  shows  his 
absorbed  interest  in  the  scene  both  by  pose  and 
expression.  The  whole  center  background  is  filled 
by  a  huge  amphitheatre  drawn  to  face  the  palace, 
thus  presenting  a  three-quarter  view  of  the  former 
structure  and  exposing  a  part  of  its  exterior  wall. 
On  the  seats  and  on  the  cornice  are  a  number  of 
spectators  who  wear  delicately  toned  costumes  and 
watch  the  knights  tilting  with  lances  in  the  arena. 
Between  the  amphitheatre  and  the  scene  in  the 
foreground  are  several  groups  of  interested  sight- 
seers, clothed  in  soft-hued  garments.  In  the  left 
background  a  knight  on  horseback  tilts  against  the 
standing  effigy  of  another  knight,  to  the  great 
delight  of  many  lookers-on. 

64 


This  tapestry  is  a  magnificent  specimen  of  decora- 
tive art,  and  is  remarkable  for  its  bold  and  diversified 
composition,  imposing  architecture,  superb  statue  of 
Hercules,  extraordinary  wealth  and  harmony  of 
color,  graceful  movements  and  rich  costumes  of  the 
principal  actors,  gay  harness  of  the  horses,  and  the 
strong  interest  manifested  by  the  numerous  and 
animated  groups  in  the  several  scenes. 

The  sixth  tapestry  represents  a  sham  attack 
on  a  fort  surrounded  by  water.  In  the  left  center 
plan  a  boat  load  of  besiegers,  with  their  standard 
bearers,  have  advanced  to  the  walls  of  the  fort,  and  a 
large  troop  of  infantry,  armed  with  spears  and  led 
by  an  officer  carrying  the  white  flag  of  the  Bour- 
bons, are  crossing  a  bridge  with  the  intention  of 
forcing  an  entrance  at  that  point.  In  the  foreground 
three  knights  on  horseback  and  several  on  foot 
engage  the  besieged  who  oppose  them  from  a  plat- 
form thrown  out  from  the  fort  as  a  means  of  defence 
as  well  as  to  facilitate  sorties.  A  couple  of  men-at- 
arms  on  each  of  the  opposing  sides  have  descended 
into  the  moat  and  are  prepared  to  fight  in  the  water 
up  to  their  waists.     The  soldiers  upon  the  platform 

65 


are  a  gallant  body  of  men  not  only  disposed  to  resist 
the  attack  stubbornly,  but  to  take  the  offensive  if  the 
besiegers  are  repulsed.  Several  of  the  combatants 
bear  their  shields  upon  the  right  arm  and  brandish 
their  weapons  with  the  left.  The  knight  upon  the 
platform  facing  those  on  horseback,  and  the  nearest 
one  in  the  right  foreground,  were  without  doubt 
purposely  made  left-handed.  If  they  held  their 
shields  upon  their  left  arms  and  at  the  same  time 
faced  their  foes,  these  shields  would  have  partly 
hidden  their  bodies  and  materially  marred  the 
artistic  effect  of  their  full-length  figures.  It  is  a 
sham  battle  gotten  up  to  give  the  Dauphin  lessons 
in  military  tactics,  as  is  clearly  proven  by  the  peace- 
able contest  in  the  right  background  where  some 
soldiers  composedly  shoot  at  mark,  and  where  a  lot 
of  spectators,  among  whom  are  some  women,  quietly 
watch  them  without  a  trace  of  fear  or  even  interest 
in  the  main  scene.  The  Dauphin  and  his  governor 
survey  the  manoeuvres  of  the  besiegers  and  besieged 
,  from  a  position  of  advantage  behind  a  sort  of  parapet 
on  the  walls  near  the  top  of  the  fort.  If  judged 
solely  by  the  vigorous  scene  in  the  main  plan,  it  is  a 

66 


real  combat,  for  the  soldiers  certainly  seem  at  serious 
work.  There  are  no  laggards,  every  man  is  doing 
his  duty,  and  evidently  all  are  hardened  veterans 
teaching  war  and  not  raw  recruits  learning  it.  The 
delicately  toned  background  scene  made  up  of 
landscape,  architecture,  and  men  and  women  clothed 
in  soft-hued  garments,  is  beautifully  divided  into 
two  independent  illustrations  if  the  troops  crossing 
the  bridge  are  included.  The  dark  foliage  on  the 
left  and  the  dexter  line  of  the  fort,  frame  the  warlike 
encounter  and  its  setting  as  a  distinct  picture  from 
the  peaceful  archery  contest  bounded  by  the  sinister 
line  of  the  fort  and  the  ruins  on  the  right.  The 
entire  composition  is  remarkably  full  of  spirit, 
life  and  action,  and  its  merits  grow  more  pro- 
nounced and  impressive  under  critical  examination, 
for  the  artist-weavers  have  not  only  illustrated 
a  sham  battle  with  such  success  that  one  believes 
it  real,  but  they  have  interpreted  all  the  minor 
features  with  such  rare  skill  and  judgment  that 
each  motive,  like  every  diamond  in  a  crown, 
aids  in  emphasizing  the  splendor  of  the  whole 
piece. 

67 


The  seventh  tapestry  represents  tlie  Dauphin 
seated  at  his  study  table  in  an  apartment  of  the 
palace,  listening  attentively  to  the  explanations 
made  by  the  tutor  standing  at  his  side,  as  they 
incline  their  heads  towards  each  other.  The  assist- 
ant, who  leans  on  the  corner  of  the  table  and  who 
points  with  a  pen  at  the  part  in  the  book  from  which 
the  lesson  is  drawn,  joins  in  the  explanations.  Both 
teachers  have  strong  and  earnest  faces  but  the  head 
of  the  elder  is  remarkable  for  its  fine  nose,  deep-set 
eyes  and  noble  forehead,  and  for  the  grave  and 
thoughtful  expression  of  all  its  features.  The  royal 
youth  has  a  well-formed,  well-poised  head,  clear-cut 
features,  and  an  interesting,  intelligent  and  amiable 
face,  tinged  with  a  shade  of  seriousness.  The  group 
in  the  right  foreground  apparently  consists  of  a 
professor,  who  is  engaged  in  reading  up  some 
subject,  and  a  couple  of  valets.  A  huge  dog  with 
fine  eyes  lies  stretched  in  indolent  repose  at  full 
length  upon  the  marble  floor  behind  him.  The  two 
youths,  chosen  as  companions  for  the  Dauphin,  are 
seated  beside  his  table.  The  nearest  one  has  bright 
intelligent   features   and   looks   like  a   capital  little 

68 


fellow  in  all  respects,  but  it  is  evident  lie  would 
rather  be  at  play  than  compelled  to  keep  the 
Dauphin  company.  A  couple  of  children  sit  upon 
the  steps  at  the  base  of  a  column  in  the  left  fore- 
ground, and  one  of  them  scribbles  in  a  book  which  it 
holds  upon  its  knees.  Several  persons  promenade 
in  the  loggia,  one  of  whom  is,  probably,  Marie  de 
Medicis  herself.  It  was  a  happy  inspiration  to 
enrich  the  delicately  toned  background  with  light 
colored  chapels,  pyramids,  and  arched  masonry,  and 
to  display  them  through  the  sombre  openings  of  the 
palace  windows  and  loggia,  for  these  charming  vistas 
with  their  independent  frames  of  fluted  columns  or 
solid  stone  not  only  delight  the  eye  but  convince  the 
mind  that  both  the  cartoonist  and  weaver  were  not 
only  technical  but  poetical  masters  of  their  re- 
spective arts.  All  the  architecture  has  been  capitally 
interpreted,  particularly  the  structure  over  the 
Dauphin's  seat.  Its  principal  ornaments  consist  of 
a  reclining  Circe  in  an  oval  cartouch  which  rests 
upon  bronze  female  sphinxes,  and  which  is  supported 
by  cherubs  in  camaieu  who  carry  a  bronze  festoon  of 
fruit  and  leaves  over  their  shoulders  and  support  the 

69 


entablature  crowning  the  structure.  The  entire 
composition  is  strong  and  masterful;  the  principal 
personages  have  been  carefully  drawn  and  beauti- 
fully grouped;  the  prevailing  tone  is  serious,  which 
admirably  sustains  the  studious  scene  in  the  main 
plan;  the  perspective  features  have  been  marvel- 
lously developed;  and  these  merits,  joined  with  the 
rich,  warm  coloring,  and  delicious  views,  make  this 
tapestry  one  of  the  most  decorative,  interesting  and 
important  in  the  whole  collection. 

The  eighth  tapestry  represents  three  savants 
conferring  upon  some  subject  in  front  of  the 
entrance  to  a  conventional  garden  which  is  flanked 
on  the  further  side  by  two  chapel-looking  buildings. 
They  are  crowned  with  laurel  wreaths,  wear  grace- 
fully draped  togas  over  long  robes  corded  at  the 
waists,  and  form  an  imposing  group  of  noble  looking 
men.  Their  strong,  intelligent  faces  exhibit  such 
individuality  and  naturalness  that  they  must  have 
been  drawn  from  life.  The  heads  of  all  three  are 
admirable,  but  that  of  the  savant  furthest  to  the 
left  is  a  chef  d'ceuvre,  with  its  beautifully  woven 
beard,   dignified  expression,  and  noble,  earnest  and 

70 


intellectual  features.  It  is  a  vigorous  composition, 
artistically  developed  and  illustrated  in  rich  and 
warm  but  sedate  colors  befitting  the  dignity  of  the 
savants  and  their  exalted  and  responsible  positions 
in  the  Queen's  household. 

The  ninth  tapestry  represents  the  Queen  re- 
warding, with  presents  of  gold  and  silver  vessels,  the 
most  deserving  of  the  artists  who  assisted  in  design- 
ing and  erecting  the  tomb  of  Mausolus  and  who 
stand  in  line  along  a  corridor  leading  to  the  apart- 
ment in  which  the  main  scene  is  laid.  She  wears  a 
crown  and  costume  heavily  enriched  with  gold  and 
admirable  imitations  of  precious  stones,  and  is 
attended  by  four  maids  of  honor,  one  of  whom 
carries  the  train  of  her  superb  and  voluminous 
mantle.  Her  expression  is  serious  and  meditative, 
and  her  nose  and  forehead  are  decidedly  Grecian. 
She  has  already  rewarded  the  artist  who  stands 
second  in  line,  and  has  evidently  given  the  first  the 
choice  of  the  piece  he  holds  or  the  one  she  extends 
towards  him.  Judging,  however,  by  his  undecided 
expression,  he  cannot  make  up  his  mind  which 
to    accept.     The   others    await   with   more    or  less 

71 


impatience,  as  is  apparent  by  their  gestures,  the 
summons  to  present  themselves;  but  some  must  be 
disappointed  as  there  remain  but  three  more  gifts  to 
be  distributed.  All  the  maids  of  honor  have  attrac- 
tive and  interesting  faces,  particularly  the  one 
standing  furthest  in  the  rear.  It  is  a  noble  com- 
position vigorously  developed ;  the  personages  are 
carefully  drawn  and  skillfully  posed,  and  the  sombre 
hues  of  the  columns  and  other  parts  of  the  architec- 
ture serve  as  an  admirable  foil  to  their  figures  and 
the  rich,  warm  colors  of  their  picturesque  costumes. 
Thk  tenth  tapestry  represents  the  Colossus 
formerly  at  Rhodes  and  the  subjugation  of  the 
Rhodians  by  the  Carians  under  Artemesia.  The 
majestic  Colossus,  with  a  huge  staff  in  one  hand  and 
a  bow  in  the  other,  stands  in  grand  relief  astride  the 
entrance  to  the  celebrated  harbor.  His  superbly 
drawn  and  finely  posed  figure  is  made  almost  life- 
like by  the  natural  manner  in  which  his  feet  are 
firmly  planted  upon  the  piers,  his  body  supported  by 
his  strong  and  elastic  legs,  and  his  head  poised  upon 
his  shoulders,  as  well  as  by  the  vitality  of  his 
features,    and   the   vigor   and   virility   of  his  whole 

72 


frame  from  head  to  heel.  The  statue  is  a  master- 
piece of  perspective  treatment,  for  the  illusion  of  its 
position  is  perfect.  It  apparently  stands  out  in  the 
open,  with  the  harbor,  the  several  boats,  the  quay 
filled  with  citizens  and  troops,  the  buildings  of  the 
city,  and  the  distant  hills,  all  behind  it  as  they 
would  actually  appear  in  nature.  The  perspective 
effect  is  heightened  by  the  shape  of  the  harbor,  by 
the  intervening  spaces  between  the  boats,  and  by  the 
long  stretch  of  coast  line  with  architectural  motives 
at  different  points.  In  the  right  field  is  a  grand 
view  of  the  open  sea,  on  which  ride  two  galleys  filled 
with  armed  men.  The  white-crested  waves  boom 
against  the  wall  of  the  harbor,  and  thrash  the  coast 
and  the  outer  tower  of  the  breakwater  with  wonderful 
naturalness.  Three  galleys,  full  of  soldiers,  have 
already  entered  the  harbor.  The  fourth,  the  stern  of 
which  is  decorated  with  the  head  of  a  wild  boar, 
gracefully  glides  between  the  piers  supporting  the 
,  Colossus,  and  carries  the  heroic  Queen  herself  who, 
as  her  looks,  pose  and  gestures  indicate,  is  eager  to 
reach  the  field  of  battle,  and  share  in  its  dangers 
or   crown   its   triumphs.     Her  troops  are,   however, 

73 


already  masters  of  the  city  judging  by  the  attitude 
of  the  crowd  of  citizens  and  soldiers  on  the  quay 
behind  the  obelisk,  by  the  woman  kneeling  before 
the  mounted  knights  and  probably  begging  mercy 
for  the  Rhodians,  and  by  the  tranquil  pose  of  the 
troop  of  infantry  nearer  the  spectator,  which  holds 
its  spears  and  banners  upright  as  if  on  parade. 

The  energetic  figure  of  the  Queen  dominates  all 
the  others  in  the  boat.  She  bends  forward  with  eyes 
intently  fixed  upon  the  quay,  every  movement  and 
feature  manifesting  her  stern  resolution  to  subjugate 
her  revolted  subjects.  She  looks  like  the  goddess  of 
battle,  armed  with  helmet,  gorget  and  dagger,  and 
carrying  a  shield  decorated  with  the  head  of  Medusa. 
Almost  the  only  features  which  portray  her  earthly 
origin  are  the  ostrich  feathers  in  her  helmet  and  her 
picturesque  veil  with  which  we  have  become  ac- 
quainted in  the  previous  tapestries. 

The  figure  behind  her  is  possibly  that  of  her  son, 
who  is  evidently  ready  and  anxious  to  support  or 
defend  her  as  occasion  may  require.  Her  red  banner 
flying  from  the  stern  of  the  boat  and  the  ivy 
branches  entwining  the  mast  show  that  she  comes 

74 


determined  to  be  victorious  and  put  down  the 
rebellion  with  a  sanguinary  band.  The  shields, 
with  their  di£Ferent  devices,  hanging  over  the  sides 
of  all  the  boats,  are  unusually  interesting  accessories, 
but  the  convexity  and  lustre  given  the  last  five  near 
the  stern  of  the  boat  containing  the  Queen  make 
them  extraordinary  examples  of  textile  painting. 

In  early  Flemish  tapestries  the  highest  lights 
were  usually  woven  in  yellow  threads,  but  when 
richer  effects  or  costlier  tapestries  were  desired,  gold 
threads  were  substituted.  The  Flemish  weavers,  who 
were  brought  to  France  by  Henry  IV  and  set  to 
work  at  the  Gobelins,  naturally  followed  the  tra- 
ditions of  their  own  country  in  their  methods  of 
weaving,  consequently  in  this  and  the  preceding 
tapestry  the  highest  lights  were  in  many  parts 
woven  in  gold  threads,  as  will  be  particularly  noticed 
in  some  of  the  threads  in  the  figure  of  the  Colossus 
and  in  the  costumes  of  Artemesia  and  her  son. 
These  gold  threads  were  rarely  pure  gold,  but  were 
generally  of  silver  threads  gilded  with  gold,  or 
woollen  threads  eiitwined  with  gold  threads.  In 
many  instances  the  wear  and  tear  of  time  have  worn 

75 


off  parts  of  the  gold  gilding  and  exposed  the  silver 
beneath  as  on  the  figure  of  the  Colossus. 

The  nobility,  richness  and  strength  of  the  com- 
position, the  elegance  of  the  architecture,  the  beauty 
of  the  harbor,  the  restlessness  of  the  sea,  the 
grandeur  of  the  Colossus,  and  the  boundlessness  of 
the  perspective,  have  all  been  developed  with  phe- 
nomenal skill.  In  conclusion,  the  multiplied  actions 
and  ideas  which  entertain  the  eye  and  interest  the 
mind,  the  variety  and  harmony  of  the  coloring,  the 
luxuriousness  of  the  accessories,  and  the  sobriety 
and  dignity  of  the  general  tone,  combine  to  make 
this  tapestry  a  superb  example  of  decorative  art. 


76 


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